on the occasion of viewing Pierre Bonnard: The Late Interiors, November 25–April 12, 2009, Metropolitan Museum of Art.
What we call color is a delusion.
If you ask me,
There’s more color in Atget
Than in all Matisse
Yesterday, in the evening under gray skies I went walking among the dead, their angel-crowned monuments low under the skeletons of trees.When it rained, the rain water washed the black soot and ash from the angels’ faces, leaving them marble white.
Why does beauty matter or even exist? It is well known that our sense of beauty is located in our perception of things and not in the things themselves. Then what is it in us that allows for this perception?
Turn out the lights on a painting and it is as dark as anything else in
—Ben La Rocco
ContributorBen La Rocco
Pierre Bonnard: The Experience of SeeingBy David Rhodes
MAY 2023 | ArtSeen
Pierre Bonnard typically evades categorization as a member of one tendency or another in nineteenth or twentieth century painting, for example Impressionism. Bonnards paintings are about far more than a genre categorization opticality, though they are visually complex in the extreme.
The Academy MuseumBy Edward Mendez
MARCH 2022 | Film
Driven by its mission to advance the understanding, celebration, and preservation of cinema, the Academy Museum addresses film history through its dynamic and educational exhibitions.
Visiting the Acropolis MuseumBy Krzysztof Wodiczko
DEC 22–JAN 23 | Special Report
Wounded, mutilated, and dismembered by wars, ancient war sculpturessuch as these of heroes of Persian, Trojan wars and embattled mythological godsare perceived by the Museum visitors as romantic ruins of idealized antiquity, rather than as the horrifying forensic evidence of wars atrocities and as the masterpieces of war art implicated in cultural perpetuation of such atrocities through their aesthetic sanctification of armed violence.
Nuestra Casa: Rediscovering the Treasures of The Hispanic Society Museum & LibraryBy David Carrier
MARCH 2022 | ArtSeen
Because the Hispanic Society is in Washington Heights, Manhattan, it has until recently had a marginal position in the New York art world. Although its only about 75 blocks uptown from the Metropolitan Museum of Art, that can seem a long journey to the busy critic. I, at least, confess that in all my years of reviewing, Id never visited this institution. And so, right now, while the museum is closed for renovations, I came because a selection of the best works is on display. How amazing that it took me all of these years to get uptown to see the best portrait in a New York City museum, Francisco de Goyas The Duchess of Alba (1797).